College life: Frat spank
Great fit (just because):
Saint-Saëns was a child prodigy (on the level of Mozart), and made his debut as a concert pianist in 1846, before his eleventh birthday. Once as an encore, Saint-Saëns offered to play any of Beethoven's 32 piano sonatas from memory. Word of this incredible experience spread across Europe and as far as the United States, where it was mentioned in an article in a Boston newspaper. Having all 32 of Beethoven’s sonatas in one's fingers, ready for concert performance, was an unheard-of feat (then as now), all the more astonishing when offered by a ten year old.
By the age of 13, Saint-Saëns was attending the Paris Conservatory. He soon gained recognition among his peers as an organ virtuoso, eventually attaining the highly coveted position of chief organist at the Madeleine Church in Paris, a post he held from 1858, at the age of 23, until he was 42 years old. His weekly organ improvisations captured the attention of all Paris. As a composer, he was highly versatile, writing operas, symphonies, concertos, much chamber music, masses and other choral works, songs and solo literature for organ and piano. His opera Samson et Dalila still ranks among the standard repertoire of opera houses all over the world. His music was wildly popular during his lifetime, and he was well-connected with other composers, particularly Hector Berlioz and Franz Liszt. Gabriel Fauré, who was Saint-Saëns's favorite pupil, soon became his closest friend.
Once called a second Mozart, Saint-Saëns soon made many enemies, who were envious of his stellar success and disdainful of his biting sarcasm. Later in life he was declared to be a “composer of bad music well written.” In old age he came to be mocked for his rabid conservatism, his dislike of modern music, the campaigns he mounted against French composers Claude Debussy and Cesar Franck, his shocked disapproval of Stravinsky's Rite of Spring (allegedly infuriated over what he considered the misuse of the bassoon in the ballet's opening bars) and his insistence, during World War I, that all German music be suppressed. He was never shy with opinion.
Saint-Saëns was a true polymath. In addition to conquering the world of music as composer, conductor, critic, teacher and concert organist and pianist, he excelled in the fields of geology, archaeology, botany, mathematics and lepidoptery. He held discussions with Europe's finest scientists and wrote scholarly articles on acoustics, occult sciences, ancient theatre decoration, and early musical instruments. Saint-Saëns wrote a philosophical work that spoke of science and art replacing religion, and his pessimistic and atheistic ideas foreshadowed Existentialism. Other literary achievements included poetry and a successful farcical play. He was also a member of the Astronomical Society of France, giving lectures on mirages; he had a telescope made to his own specifications and planned concerts to correspond to astronomical events, such as solar eclipses.
Saint-Saëns was solitary and secretive, prone to disappearing for weeks at a time. He could also be a remarkable host, often entertaining friends lavishly at his Paris home, where his performances in drag were well-known among his circle, particularly his impersonation of Marguerite, the female soprano lead in Charles Gounod's opera Faust. He is reputed to have danced in ballerina tutus for the entertainment of fellow gay composer, Tchaikovsky.
After abandoning his wife, Saint-Saëns traveled extensively. He began spending winters in French-speaking Algeria, which became a favored holiday spot for European homosexuals who enjoyed the adolescent male companionship easily available there. He was quoted as saying, "I am not a homosexual, I am a pederast." Saint-Saëns died of pneumonia in Algiers, at the age of 86, on December 16, 1921.
Have a listen to his hugely popular orchestral work, Danse Macabre. I’m sure you’ll recognize it.
Trivia: Pianist Franz Liszt made an astonishing piano solo transcription of this piece.